"Pixar is going in the direction of the early Disney. And it's also corporate, where they have four or five projects in the works. I don't want to get into that subject"
About this Quote
A veteran Disney hand is watching the wheel turn and deciding not to get crushed under it. Joe Grant’s line lands with the weary precision of someone who lived through the studio’s most mythologized era and knows how quickly “magic” hardens into policy. When he says Pixar is “going in the direction of the early Disney,” it reads like a compliment only on the surface: early Disney meant daring visual invention, yes, but also a factory logic where artistry was inseparable from industrial throughput. Grant isn’t praising a style so much as naming a cycle.
Then he pivots: “And it’s also corporate.” The bluntness matters. “Corporate” isn’t merely about budgets or shareholders; it’s about risk being redistributed away from artists and toward brand management. The detail that they have “four or five projects in the works” is not trivia, it’s diagnosis. A pipeline that full implies a system built to feed momentum, not pause for obsession. It’s the difference between a studio that bets the farm on one strange idea and a studio that hedges across a slate.
The most revealing phrase is the retreat: “I don’t want to get into that subject.” That’s not evasion; it’s a boundary drawn by someone who understands institutional memory, NDAs, friendships, and the politics of speaking plainly. The subtext is clear: he has more to say, and what he could say would name names, incentives, and compromises. The intent isn’t to dunk on Pixar. It’s a warning about what happens when a creative engine becomes a corporate organism: output increases, and the room for unruly genius quietly shrinks.
Then he pivots: “And it’s also corporate.” The bluntness matters. “Corporate” isn’t merely about budgets or shareholders; it’s about risk being redistributed away from artists and toward brand management. The detail that they have “four or five projects in the works” is not trivia, it’s diagnosis. A pipeline that full implies a system built to feed momentum, not pause for obsession. It’s the difference between a studio that bets the farm on one strange idea and a studio that hedges across a slate.
The most revealing phrase is the retreat: “I don’t want to get into that subject.” That’s not evasion; it’s a boundary drawn by someone who understands institutional memory, NDAs, friendships, and the politics of speaking plainly. The subtext is clear: he has more to say, and what he could say would name names, incentives, and compromises. The intent isn’t to dunk on Pixar. It’s a warning about what happens when a creative engine becomes a corporate organism: output increases, and the room for unruly genius quietly shrinks.
Quote Details
| Topic | Movie |
|---|
More Quotes by Joe
Add to List


